Review Summary: Murdering scene music, one song at a time.
In one Tik Tok video, 6arelyhuman had the audacity to say they were, “reviving scene music one song at a time”. In reality, the artist masquerades under the title of “scene” to acquire a fan base that are diehard about their music. It’s a clever tactic, considering how diluted scene music is these days, to the point where almost anything slapped with synthesizers will be called “scene” by modern day “scene kids” on Tik Tok and SoundCloud. These kids, however, did not grow up on MySpace like us scene adults, where scene music originally thrived. 6arelyhuman is both a symptom and a catalyst of the virus that is fake scene music. The more popular they become, the more that original scene music is diluted and forgotten in favour of the newer, popular wave of hyperpop and scenecore. Don’t take my word for it though, let me explain first.
The music in this EP consists of a dark, club-ready, electro house flavour (almost). In entirety, the sound is full of distortion, especially on the barely decipherable vocals. Hyperpop is the ultimate genre of 6arelyhuman’s choice, and with enough blips, boops, and half-assed rap, it almost appears as scene music. It’s not at all, but it is fairly catchy music. The song XOXO (Kisses Hugs) is synth-y and repetitive enough to be reminiscent of Millionaires, only because we’re being brainwashed to consider this scene music. No, this is hyperpop to a tee, and to say otherwise must surely be part of a hyperbolic claim.
The music on offer sounds like AI music, but with an extra human involved. The singer has personality up the wazoo, but in a look-at-me/always right style that could sum up my problem with half of Tik Tok artists. If you’re into that, fair enough, but let’s not forget the music itself which is a cacophonous cloud. Still, it’s so-called edgy enough for kids to talk about it, and trust me, they do. Style > substance is the biggest issue, essentially. It attempts to sound bigger than it is with suffocating effects and incongruous, faceless synth blurs, and the experience is ultimately of confusion. The music comes and goes with driving beats, and choruses are the only things ending up in the memory. It’s inoffensive, it vaguely edges on the outskirts of fun, and the dripping, distorted singing effect may be interpreted as sassy to kids.
If you’re looking for some music that sounds like nightcore gone boring, come visit this EP. Compressed to the point of sounding like DOS computer games but drained of all volume, personality, and fun? Come one, come all. Come see this artist single-handedly destroy scene music, and all that it stands for. Come watch the death of your childhood.
